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Movie cover art if shown is for descriptive use only
 3:10 TO YUMA (1957)
One of the best western dramas, almost in the league of "Shane" and "High Noon". A farmer takes the job of bringing a notorious killer into Yuma because he needs the money. They have to wait together in a hotel room until the train for Yuma arrives. Glenn Ford, Van Heflin, Felicia Farr Dir. Delmer Daves 92 Min. | |
 BLOOD ON THE MOON (1949)
Straightforward Western tale (from a novel by Luke Short) about a drifter who's hired by his former partner to help him bilk some naïve landowners. Mitchum sizes up the situation and decides he doesn't like it; Preston is an unrepentant villain. Watch for that great confrontation scene in a darkened barroom. Robert Mitchum, Barbara Bel Geddes, Walter Brennan Dir. Robert Wise 88 Min. | |
 COLORADO TERRITORY (1949)
Smashing western remake by director Raoul Walsh of his own "High Sierra". McCrea is the outlaw who escapes from prison and sets out to committ one last robbery. Joel McCrea, Virginia Mayo Dir. Raoul Walsh 94 Min. | |
 DECISION AT SUNDOWN (1957)
Decision at Sundown was one of several felicitous collaborations between star Randolph Scott and director Budd Boetticher. Scott plays a flint-eyed gunman who rides into a sleepy town to drive out local tough guy John Carroll by sundown. Scott is motivated not by justice but by revenge; years earlier, Carroll had stolen Scott's wife. The woman subsequently killed herself, and the fact that she had left Scott willingly is torturing both men, each of whom feels partially responsible for her death. As sundown approaches, the "angst" suffered by both hero and villain spreads to the rest of the townspeople, who do a lot of soul-searching while waiting for the final confrontation. Decision at Sundown truly lives up to the label "psychological western". — Hal Erickson Randolph Scott, John Carroll, Karen Steele, Valerie French Dir. Budd Boetticher 77 Min. | |
 DESTRY RIDES AGAIN (1939)
A free-wheeling comic western with Stewart in double jeopardy - fighting six gun justice with his own brand of no gun peace keeping and fending off the advances of Frenchie, a sexy saloon gal, played by Dietrich. She makes a beautiful foil for Stewart's strong, silent lawman in this rip roaring western oddessy. James Stewart, Marlene Dietrich Dir. George Marshall 94 Min. | |
![]() DEVIL'S DOORWAY (1950)
An Indian veteran of the Civil War returns to find injustice and tragedy for his people, fights to aid them. Well-done western drama takes the Indian's point of view, does a good job of it. Robert Taylor, Louis Calhern Dir. Anthony Mann 84 Min. | |
 DODGE CITY (1939)
Errol tames the west and de Havilland in entertaining large-scale Western, with Warner Bros. Stock company giving good vignettes, and granddaddy of all barroom brawls. The principal inspiration for "Blazing Saddles". Errol Flynn, Olivia de Havilland, Ann Sheridan Dir. Michael Curtiz 105 Min. | |
 DUEL IN THE SUN (1946)
Appropriately nicknamed "Lust in the Dust," Duel in the Sun is a wacky, grandiose melodrama, famous for its sexual innuendo. Producer David O. Selznick was attempting to top his success with Gone With the Wind, and though it did make quite a lot of money, Duel never matched the level of public and critical adulation of his previous film. It's still good fun to watch, especially the riotous ending. Despite starring the producer's second wife, Jennifer Jones, and a host of other big names (Gregory Peck, Lillian Gish, Joseph Cotten, Lionel Barrymore), the film relegates the performers mostly to the background — as they are in the final shot. Selznick was so keen on producing the "biggest movie ever" that, in 1946, Duel was the most expensive film ever made. The producer's meddling in the filmmaking process drove director King Vidor from the picture, and five other uncredited directors would work on the film after him, including Josef von Sternberg and William Dieterle. — Brendon Hanley Jennifer Jones, Griff Barnett, Gregory Peck, Joseph Cotton, Charles Bickford, Lionel Barrymore Dir. King Vidor 144 Min. | |
 GUNFIGHTER, THE (1950)
One of Peck's best performances as the would be retired gunslinger Johnny Ringo. Homeier, determined to grab the fastest gun title for himself, forces Ringo into one more shootout. Very offbeat western for it's time. Gregory Peck, Helen Westcott Dir. Henry King 84 Min. | |
 HIGH NOON (1952)
A western classic; story of a brave lawman who has to face outlaws sworn to kill him on his wedding day. As fine an outdoor drama as one could wish, as witness its numerous awards. Cooper won his second Best Actor Oscar. Gary Cooper, Grace Kelly Dir. Fred Zinnermann 84 Min. | |
 HONDO (1953)
Rousing, well-done Western with Wayne the tough, wily calvary scout who comes upon Page and her young son living in the wilderness, unalarmed about a pending Apache uprising. Good script by James Edward Grant, from a story by Louis L'Amour. John Wayne, Geraldine Page, Ward Bond, James Arness, Lassie Dir. John Farrow 84 Min. | |
 JOHNNY GUITAR (1954)
Director Nicholas Ray's unique western drama blends elements of German expressionism, film noire and range riding shoot em ups to create a heady and intoxicating brew. Joan Crawford plays the mistress of a gambling den on the edge of a frontier settlement, waiting for the railroad to bring her prosperity while fending off the jealous locals who want to run her out of town. A moody, visually striking work that bears Ray's signature of originally throughout, with mesmerizing performances by Crawford and McCambridge Joan Crawford, Sterling Heyden Dir. Nicholas Ray 110 Min. | |
 LAW AND JAKE WADE, THE (1958)
Good western. Taylor is well cast as a former outlaw turned marshall in a town in New Mexico. His old buddy, played with all the stops pulled by Richard Widmark, pops up and things change. Robert Taylor, Richard Widmark Dir. John Sturges 86 Min. | |
 MAN FROM COLORADO, THE (1948)
Sadist becomes a federal judge and runs things his way. Good western has offbeat portrayal by Ford. Willam Holden, Glenn Ford, Ellen Drew Dir. Henry Levin 99 Min. | |
 MAN OF THE WEST (1958)
Anthony Mann's final foray into the western genre is a disturbing examination of man's baser instincts, rising in intensity to the level of Shakespearean tragedy. The film begins as seemingly naive Link (Gary Cooper) leaves his family to take a train to Fort Worth. Also on the train is saloon singer Billie Ellis (Julie London), who is compelled by con man Sam Beasley (Arthur O'Connell) to cheat Link out of his money. But the con comes to naught when the nefarious Dock Tobin (Lee J. Cobb) and his gang rob the train. Link takes Billie and Beasley to Tobin's cabin, where it is revealed the mild-mannered Link is Tobin's nephew and a former member of his cutthroat gang. Dock Tobin draws up a plan to rob a bank which the outlaws find agreeable, but they're reluctant to have Link rejoin their group. Soon it becomes apparent why they feel this way; when Link rejoins his old gang, his shy demeanor falls away and his outlaw instincts rise to the surface. Gary Cooper, Julie London, Lee J. Cobb, Arther O, Connell, Jack Lord Dir. Anthony Mann 100 Min. | |
 MY DARLING CLEMENTINE (1946)
A super western about Wyatt Earp, and the doings in Tombstone, Arizona. Directed by John Ford who along with a fine cast, makes up for an almost rountine script. Henry Fonda, Linda Darnell Dir. John Ford 97 Min. | |
 NAKED SPUR, THE (1953)
Good adventure bolstered by a star cast. Filmed on location in the Rockies, the rugged tale follows a group of bounty hunters in pursuit of a killer with a price on his head. James Stewart, Janet Leigh, Ralph Meeker, Robert Ryan Dir. Anthony Mann 92 Min. | |
 OX-BOW INCIDENT, THE (1943)
A powerful, relentless anti-lynching drama, with strong performances, especially from Fonda as a cowboy with a conscience. From the novel by Walter Van Tilburg Clark. Henry Fonda, Harry Morgan, Dana Andrews Dir. William Wellman 75 Min. | |
 RANCHO NOTORIOUS (1952)
The original title for Rancho Notorious was Chuck-a-Luck, which is also the title of the soundtrack ballad (written by Ken Darby) which unifies the plotline, a la High Noon. Frontiersman Vern Haskell (Arthur Kennedy) wanders throughout the West in search of the man who robbed and murdered his fiancee. He is told that he'll probably find the culprits at Chuck-a-Luck, a combination horse ranch and criminal hideout overseen by saloon chanteuse Altar Keane (Marlene Dietrich). To gain entrance to Chuck-a-Luck, Haskell poses as an escaped prisoner. Keane warns him that the ranch has only one rule, "Don't ask questions:" still, he has ways of finding things out. Haskell is compelled to keep up his charade when the dirty denizens of Chuck-a-Luck plan a big bank holdup, but this has the result of exposing the killer of his girl. Director Fritz Lang had a rough time with RKO- head Howard R. Hughes, who insisted upon making changes in the film that might have hurt it irreparably. The biggest argument centered over the title: Hughes complained that no one overseas would understand the meaning of "Chuck-a-Luck," whereupon Lang riposted sarcastically that "I'm sure that everyone will understand Rancho Notorious." One of the principal villains was Lloyd Gough, but you'd never know it from the opening titles: Hughes, incensed that Gough had refused to testify at the HUAC "witch-hunt," ordered that the blacklisted Gough's name be removed from the credits. — Hal Erickson Marlene Dietrich, Arthur Kennedy, Mel Ferrer, Lloyd Gough Dir. Fritz Lang 89 Min. | |
 RED RIVER (1948)
Sprawling lusty western blessed with extraordinary direction and the surprisingly forceful teaming of the screens foremost macho man with the screens most sensitive introvert. In the exemplary western, Wayne and Clift play a cattle baron and his son at odds over the way John runs his empire. The film climaxes in a memorable knock down drag out confrontation between the two during a cattle drive over the Chisholm Trail. John Wayne, Montgomery Cliff, Walter Brennan Dir. Howard Hawks 133 Min. | |
 RIDE THE HIGH COUNTRY (1962)
An absolutely first rate western which gives Scott and McCrea the best roles of their lives, and they make the most of it. Directed by Sam Peckinpah in a controlled way- unlike many of his later violence laden films. Two old time lawmen sign on to escort gold from the gold fields to the bank, meeting trouble along the way. Randolph Scott, Joel McCrea Dir. Sam Peckinpah 94 Min. | |
![]() RELENTLESS (1948)
Described by one critic as a western version of The 39 Steps, Relentless stars Robert Young as a cowboy on the lam. Framed for murder, Young must find the one man who can clear him, while a posse dogs his trail. He briefly becomes an outlaw, hoping to make contact with his quarry by befriending the dregs of the west, notably mercenary saloon keeper Akim Tamiroff. Marguerite Chapman plays the love interest, while Barton MacLaine does his usual as the main heavy. Directed at a rapid clip by George Sherman, Relentless does its best to live up to its title. — Hal Erickson Robert Young, Marguerite Chapman, Willard Parker, Akim Tamiroff Dir. George Sherman 93 Min. | |
 SADDLE THE WIND (1958)
Well-acted western of turned good rancher (Taylor) fated to shoot it out with brother (Cassavetes). If you're ever wondering what a western written by Rod Serling would be like, here's your chance. Robert Taylor, Julie London, John Cassavetes, Donald Crisp Dir. Robert Parrish 84 Min. | |
 SEARCHERS, THE (1956)
A vigorous, multi-layered classic regarded by many as the model western; certainly the film has been copied endlessly, although no one has matched the depth of Ford's accomplishments here. Embittered by acts of Indian savagery, Ethan (Wayne) single-mindedly tranks down his niece who'd been kidnapped as a child and forced into squawdom by a renegade. Nursing his hatred, Ethan intends to kill not only the Indian buck but also his niece because she's been defiled. Since the other frontiersmen want to rescue the girl, the film becomes an exploration of the civilizing of the Old West versus the Old West's code of vengence. A complex film shaded with ambiguities and strikengly directed by John Ford. John Wayne, Jeffrey Hunter, Vera Miles, Ward Bond, Natalie Wood Dir. John Ford 119 Min. | |
 SHANE (1953)
Truly epic western, among the best ever made. Simple story of a gunfighter coming to the aid of homesteaders has been filmed with amazing skill by George Stevens, with some of the finest scenic values ever put on film. There's action, drama, fine performances. Alan Ladd, Jean Arthur Dir. George Stevens 118 Min. | |
 SHE WORE A YELLOW RIBBON (1949)
Most elegiac of all westerns, beautiful and subtle in detailing an aging officer's reluctance to quit when the Indians threaten. Like its retiring calvalry officer, the film ages well. John Wayne, Joanne Dru Dir. John Ford 103 Min. | |
![]() SHEEPMAN, THE (1958)
Engaging, conventionally heroic western about a sheepman who trys to forge détente in a cattle town. Glenn Ford, Shirley MacLaine Dir. George Marshall 85 Min. | |
![]() SQUAWMAN, THE (1931)
Cecil B. DeMille's third remake of his debut film, this was the first sound version of Edwin Milton Royle's stage western melodrama. The story centers on a British captain who heads into the American West after taking the blame for his embezzling, blue-blooded cousin to protect the reputation of his cousin's wife, whom the captain secretly loves. There he rescues a beautiful Indian woman from a lustful, wicked cattle rustler. Later he and the woman marry and have a baby. To prove her love for her new spouse, the Indian murders the cattle rustler. More trouble brews when the captain's true love comes to tell him that her husband confessed all upon his death bed and that the captain is to the new Earl. — Sandra Brennan Paul Cavanagh, Lupe Velez, Eleanor Boardman, Roland Young Dir. Cecil B. DeMille 107 Min. | |
 STAGECOACH (1939)
The classic about a group of assorted passengers on a stage going into Indian country, their reactions under stress. A fine, exciting film, one of the most influencial westerns ever made. Claire Trevor, John Wayne Dir. John Ford 99 Min. | |
![]() STATION WEST (1948)
Entertaining adaption of Luke Short story about undercover military intelligence officer Powell stirring up trouble in Western town to find who's behind series of gold robberies. Dick Powell, Jane Greer, Tom Powers, Steve Brodie, Gordon Oliver, Raymond Burr, Agnes Moorehead Dir. Sidney Lanfield 80 Min. | |
 TALL IN THE SADDLE (1944)
Women hating cowboy takes over as ranch foreman only to find the new owners are a spinster and her young niece. Entertaining, fast paced western. John Wayne, Ella Raines Dir. Edwin Marin 87 Min. | |
 TERROR IN A TEXAS TOWN (1958)
A wayfaring sailor's visit back home proves turbulent for him and troublesome for a greedy land-baron who's been gobbling up the local farmlands. Exciting and off-the-beaten-track. Sterling Hayden, Sebastian Cabot, Carol Kelly Dir. Joseph H. Lewis 80 Min. | |
 THREE GODFATHERS (1948)
John Ford had already directed one of the three previous film versions of Peter Kyne's novel under the title Marked Men (1919) with his mentor Harry Carey, a great cowboy star of the silent era who had recently died. It's not difficult to see how the story's sentimentality and Christian symbolism might have appealed to the director's sensibility. John Wayne stars as Bob Hightower, the leader of a trio of thieves who rob a bank in Arizona and take off with the posse of Sheriff Buck Sweet (Ward Bond) in close pursuit. Although they need to stop to water their horses and care for the wounds of Abilene (Harry Carey Jr.), their accurate suspicion that the sheriff is laying an ambush for them at the Mohave water tank leads the gang toward the more distant Terrapin tanks. However, en route, they're waylaid by a terrible sandstorm which scatters their horses. Forced to go on foot, they come upon a lone woman (Mildred Natwick) in a covered wagon who is about to give birth. She dies in childbirth, but not before extracting a promise from the three to take care of her child. Under a blistering sun, they head for New Jerusalem John Wayne, Pedro Armendariz, Harry Carey Jr., Ward Bond, Mae Marsh, Jane Darwell, Ben Johnson Dir. John Ford 106 Min. | |
 UNION PACIFIC (1939)
This real-life spectacle is occasionally interrupted by the fictional adventures of railroad overseer Joel McCrea, postmistress Barbara Stanwyck (with an incredible Irish brogue), and McCrea's best pal Robert Preston. Unfortunately Preston has fallen in with Brian Donlevy, who is dedicated to destroying the Union Pacific railroad on behalf of a crooked political cartel. During an Indian attack, McCrea and Preston fight side by side to save Stanwyck, prompting Preston to turn honest. On the day in 1869 that the "Golden Spike" is to be driven at Promontory Point, Preston is killed saving McCrea from Donlevy's bullets. Union Pacific owes a great deal to John Ford's 1924 film on the same subject, The Iron Horse, even restaging one or two major action sequences from the earlier film. Barbara Stanwyck, Joel McCrea, Robert Preston, Akim Tamiroff, Brian Donlevy Dir. Cecil B. DeMille 135 Min. | |
 VIRGINIA CITY (1940)
Promoted as a follow-up to the popular 1939 western Dodge City (which, indeed, was left wide open for a sequel in its closing scenes), Virginia City bears only surface resemblance to the earlier film. Indeed, the only discerning links between the two pictures are the western setting and the presence in the cast of Errol Flynn, Frank McHugh, Alan Hale and Guinn "Big Boy" Williams. After escaping from a Confederate prison during the Civil War, Union officer Flynn vows to stop a $5,000,000 gold shipment from reaching the South. He is challenged by Southern sympathizer Randolph Scott, whose interest in the gold is patriotic, and by outlaw Humphrey Bogart (complete with a Mexican accent that wouldn't convince a cow), whose interests are purely mercenary. Adding spice to the proceedings is Miriam Hopkins as a dance hall chanteusse-cum-Confederate spy. Better in individual components than sum total, Virginia City pleased the crowds in 1940, assuring that the Tasmanian-born Errol Flynn would continue appearing in westerns in the future Errol Flynn, Miriam Hopkins, Randolph Scott, Humphrey Bogart, Frank McHugh, Alan Hale Dir. Michael Curtiz 121 Min. | |
 WAGONMASTER (1950)
Eloquent western, directed by Joh Ford, that eschews pomposity, self-consciousness and even movie stars. Two drifters (Johnson and Kari) sign on to guide a Mormon wagontrain (led by Bond) to the Utah frontier. Ben Johnson, Hari Kari Jr., Joanne Dru, Ward Bond Dir. John Ford 86 Min. | |
| WESTERNER, THE (1940)
Excellent tale of land disputes getting out of hand in the old West, with Brennan's mercurial Judge Roy Bean winning him his third Oscar. Tucer's film debut. Gary Cooper, Walter Brennan, Forrest Tucker Dir. William Wyler 100 Min. | | Go to Top
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Film Facts:
There has been at least one western in which not a single gunshot is heard. "Four Faces West" (1948) starred Joel McCrea as a bank robber on the run from Charles Bickford's Pat Garrett. Strong characterization and suspense proved no substitute for the traditional showdown in Main Street as far as the fans were concerned and the film bombed at the box office.
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"I've heard a lot about you, too, Doc. You left your mark around in Deadwood, Denver and places. In fact, a man could almost follow your trail from graveyard to graveyard." - Henry Fonda in "MY DARLING CLEMENTINE"
“: Don't spill none of that liquor, son. It eats right into the bar.” – Walter Brennan in “THE WESTERNER”
"It reminds me of a little heist we planned in west Kansas about five or six years ago. One fella was smooth and slippery. The other was green and gabby. The third was just plain mean, from the top of his head to his boot heel. The next thing we know, there was a boxcar of soldiers coupled to that train. Too bad we never knew which one sent word to the soldiers. It would have been better for the other two if we had. Their monuments are right outside Boxville, Kansas. The prettiest little Bone Orchard you've ever seen. Little stone angels watching them." - Joel McCrea in " COLORADO TERRITORY" |
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